Tuesday, December 23, 2008
A master of technique walks us through a series of situations and explains how to craft illumination
As the object was transparent, all the lights were placed below or behind it. The acrylic table was white, and as such, we had to protect it properly from the white light on the left side of the Striplite 60. If we didn’t, all the colors would turn out very pale.
Of all the open reflectors, the Par has the highest light output (up to 11⁄2 stops more than a P70). It’s the best choice for such a dark and spacious location. If the lamp head (there are three Pulso G lamp bases here) is equipped with a matte-protecting glass, the coverage of the Par reflector is nicely center-weighted. The blue light was daylight, and the statue on the right was additionally illuminated with a tungsten spot.
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